In many live performance venues such as musical performances, the music produced by musical instruments and voice performance are picked up by multiple microphones or sound pickups for amplification and distribution to the audience. The typical sound system may include a substantial network of preamplifiers, amplifiers, audio pickups, microphones, cables, connections and speakers. Many of these system components introduce distortion within the sound information such that the output sound from the speakers differs substantially from that which was originally produced by the musical instruments or singers.
Recording systems are subject to similar problems in that they employ many of the same amplifier and connecting network systems utilized in live performance. In addition, recording systems and recording studio systems may introduce additional types of distortion of the music or sound information which is produced by the recording and playback apparatus of the system.
In some performance venues, highly specialized and highly skilled audio technicians and/or audio engineers are brought in to “tune” and “adjust” many of the system components and the connecting networks utilized therein with the objective of eliminating or at least reducing audio distortions occurring within the systems. The use of audio technicians and audio engineers to set up an audio system prior to a performance is relatively inefficient, time consuming and expensive. Many performances and venues which host such performances are not able to accommodate or fund such exhaustive set up efforts. Often, musical performances and programs are changed from one performance to another requiring that at each performance or group of performances, different musicians and singers must be accommodated in the audio set up. Thus, the need to frequently set up to accommodate different instrument selection and musical arrangements makes the use of expensive and exhaustive audio set ups by audio technicians and audio engineers inefficient and impractical.
Within the scientific literature related to audio system design and analysis, a particular noise signal is analyzed which is generally referred to as “pink” noise. Additionally, practitioners also refer to pink noise as “flicker” noise. Pink noise is generally referred to as a 1/f type noise. Pink noise comprises a signal or process having a frequency spectrum such that the power spectral density (energy or power per Hz) is inversely proportional to the frequency of the signal. In pink noise, each octave (halving/doubling in frequency) carries an equal amount of noise power. The pink noise name arises from the pink appearance of visible light with this same power spectrum. In a more general scientific sense, the scientific literate more loosely defines pink noise to refer to any noise with a power spectral density of the form S(f)a(1/f to the power of a).
There arises therefore an unrealized need in the art for an improved system and apparatus for eliminating or at least reducing distortions of audio performances. There remains a further need in the art for improved systems and apparatus for eliminating or reducing distortions which are more cost effective, efficient and less time consuming.